JSngry

Where did the Groucho clip go?

GROUCHOIFY!

Are you related to a Kardashian?

Not necessarily irritating in and of itself for me, I think it's a great toy when used with intent, but tell me this - when did grownass women start talking like ignuntass little girls, in other words, when did sounding like a Karhdashian become something other than a mockery-laden celebration of fuquitousness? That's the shit that's driving me crazy. Hell, men are starting to do it now too, taking all the bass out of their voice, acting all servile and non-threatening just saying hello and shit, goddam peoples, ADULTIFY!

Hipster implants? Is that what you're saying?

Think of all the man-made colors we have come to accept as part of nature, even though they occur nowhere in nature. Rudy's piano sound is like that for me. Cannot begin to count how many times it's wrapped me in its narcotic-ish cocoon of aural/mental warmfuzzyfingernailsJUSTsorunningdownspine. Shit started getting weird in the 70s and beyond though. Sometimes.

Yes, the show's host has been kind enough to provide the details: http://www.organissimo.org/forum/index.php?/topic/77672-the-great-columbia-jazz-purge-coleman-evans-jarrett-and-mingus-on-night-lights/ Locking this thread to divert traffic there, as seems befitting.

There are hipsters behind everybody everywhere at all times. They have us surrounded. So don't go and die casually, or anything like that. Evacuate the premises first. Or else...you know the rest.

Jody Grind had a real gatefold, compared to the Unipak design of the later BNs.

Not sure if an engineer is best served by getting emotionally involved in their work while it's going on, the need for objectivity is pretty intense...also, I mean, yeah, you can "love" something but that love will not really be "equal", I don't now that Rudy (or anybody) would've walked away from a Lou Donaldson 50s date and a 60s Trane date with the same sentiment, I would hope not, actually.

I wonder how much he loved of what he recorded, not as recordings, but as music.

Oh geez....sad to hear that. My interactions with him here always left the impression of a kind & gentle spirit. And he was nice enough to pass along some positive things that I had said about Patti Waters on the board here to her directly, and that resulted in everybody's spirits being lightened and brightened. So yes, Rest In Peace, David, a peace worthy of that which I saw you strive to create in your life here.

Oh, if we're gonna do Joe/Freddie CTI, let's break open a case of Straight Life and get goin' with it. That's the "employees only" CTI record, the one that only got played when the civilians had left for the day and it was time for the party to relish the rich and varied fuels and lubricants that both life and money can lavish upon those who go a'lookin' for them in their natural environs with enough of the right bait for it to all be a ritual whose purpose is fulfilled by simply showing and getting going.

I had no real idea about the impact of the childhood thing nor of the husband/manager thing. Like I said, I have not been a Nina Simone fan, per se. If anything, I found here stylistic mergings to be a little naive, perhaps even hucksterish on occasion. Well, guess i was wrong about that, like 100% wrong. When Lisa Simone Kelley reflects on her parent's apparently volcanic/violent relationship and says, "I think they were both crazy", the need for the realization that she's not saying that as a mere figure of speech becomes most imperative, because, uh, yeah. Psyches...everybody's are damaged to one degree or another, this I do believe. It's how it all gets processed and played out that is the roller coaster, and I would think that nothing would be as much a mindfuck as a roller coaster with invisible tracks that don't readily cycle back around to the same exact place every time. When is that ride ever over, and just where do you get off, exactly?

The strong support here for Our Thing is really interesting to me, given that back in the 70s, it was the one JH BN leader date that had gone out of print and had become all obscure and shit. "I got ALL the Joe records." "You got Our Thing?" "Uh....". "Yeah, thought so." Etc. I had to get my copy by trading a readily available Miles LP to the college radio station. Miles Ahead, I think it was. "We'll probably never play this" was their argument against the trade. "But you don't play the Joe record either, and this Miles record is in MUCH better condition, so you could if you ever wanted to" was my counter, and it was counter enough, because I don't know where their Joe side had come from, but it was worn like some student of yore had brought it in one night years ago, left it, and was too high to ever remember where they had left it. It was more than a little "gently" used, but it played. Good enough eats for a hungry man.. I like it when once "cult"-y records become kinda "common wisdom" things. Like it a lot, but still wonder why it wasn't always like that, I mean, geez, Unity used to be like, a Mystical Quest or something, now it's like, hell, EVERYBODY got Unity, everybody KNOWS Unity, Unity is a given for today''s peoples. But others, like Indestructible never really "take" in the common mind, and that just mystifies the hell out of me. And then there's Gettin' Around..neither mourned nor pondered for it's apparently perpetual audiencial meh-ness? I won't. I mean, I jumped for joy when I found that LP, but other than "Heartaches"...when they say "for collectors only", sometimes there's a reason for that. Not every "obscure" record is great, and not every great record is undiscovered. But sometimes, yes they are. Shit is funny like that, you just never know.

Finally caught just the faintest tinge of sourness in the milk's smell today. Threw it out, more than two months after the stamped expiration date. I don't think we give cows or refrigerators enough credit.

Dude, that is the thing that I think everybody wants to hear. There's always room for technical improvement, always room for broadening scope or narrowing focus, but to go about it sounding like yourself, that's...it, yeah. That's what you do all the other stuff for, to get to that point so then you can get to the other stuff. Some/many people go about it the other way, get the chops together, then go look for the voice. I was never that consistently patient or disciplined until it was too late to do it any other way. I'm kinda like, if I lose everything else, up to and including my mind and most of my physical capacities, I will not lose my sound. It may get battered, 'bused, 'buked, and scorned, but dammit, when that goes, I go. I got room for "negotiations" about damn near everything else, but not that. Seriously. So, yes, thank you again. Sincerely and deeply. And since I've (humorously, I swear) talked trash about Malaby's gig attire in the past, let it be noted here that when it comes to underdressing, I'll take a backseat to NO man!

Thanks, Steve! I know this is the general type of music you listen to very extensively and take very seriously, so yours is certainly a meaningful compliment, and a much appreciated one as a result. If it's Malaby, I'll try to show you a photo from the gig - I out-undressed him by a mile!

They reportedly jammed together in 1963 with Fred Lyman and others. http://www.ayler.co.uk/html/unreleased.html Interesting...thanks.

https://soundcloud.com/summusic-3/061515-gig-excerpt-18-min An 18 minute portion of our 6/15 performance at Joe Milazzo's "Crepuscule With Nellie" book reading, self-recorded on a real recorder and converted to mp3. Not without the occasional audio flaw, but much better than the cell phone recordings we've been able to offer in the past. Free to all to either stream or download. Tunes are: Cao-Cao HoundSo, How Was Lunch?Goin' Inta' TOWN In Tha' Morenin'Jim Sangrey - Tenor Carl Hillman - Bass Andrew Griffith - Drums An extra note of thinks to Joe & all the folks at Pandora's Box for providing this opportunity. The Margo Jones Theater is a great sounding room, and the audience in it was about as good as anybody could want.

Yeah, I suppose so...and I wonder f Ornette and Donald Ayler worked on trumpet together. Or Alan Shorter? Or anybody of the time on violin? Or did Ornette work those things out on his own and then kept them to himself?

Did Ornette & Ayler ever practice/jam together? I could not see that not ever happening.

Will post an example next time I hear one...they don't come around every day, sadly.